my adventures with ALG, crosstalk, lakorn, and everyday life in thailand

Difficult Scenes From มณีสวาท (manee sawat)

Here are four scenes from มณีสวาท (manee sawat) that contain a good amount of words that I don’t know. I find scenes two and four pretty hard to grasp, and my understanding of what’s being said there is quite vague; whereas scenes one and three I was able to follow fairly closely — but even so there’s plenty of unknown vocab that I run up against.

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An increasingly acrimonious conversation between Kun Subahn and Jao Uraka. Of the four scenes, I think this is the one I can follow most closely (from episode 7 of มณีสวาท manee sawat):

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A scene in which I understand very, very little of what’s said. Nat’s father pays a friendly visit to Jao Uraka; Jao continues to ignore Yomanak’s warnings (from episode 8 of มณีสวาท manee sawat):

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Kun Chai and his uncle (?) welcome Dr. Wijay Sing — perhaps in English we would call him an anthropologist of religion? — to Thailand, and discuss the doctor’s latest research project (from episode 10 of มณีสวาท manee sawat):

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Dr. Sing explains why Kun Chai is the key to proving who (or what) Jao really is — an explanation I couldn’t discern more than glimmers of (from episode 10 of มณีสวาท manee sawat):

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In a way, this post is primarily for myself, as an easy way to access these scenes. Already in the course of putting this post together, I’ve ended up re-watching these scenes a few times, and I think my understanding’s improved as a result.

As for manee sawat itself: my last post on this lakorn may have given the impression that it’s a horror lakorn, but that’s not the case. It’s more of a mythical-supernatural story, a drama with elements of revenge and a bit of comic relief; it goes without saying that it’s a romance, too. It’s kind of melodramatic — well, it is a lakorn — with acting that often veers into a kind of stagey-declamatory mode, but I thought it worked very well, and enjoyed rewatching it very much.